Peržiūrėti realybėje
Pasidalinti
Dalintis
Išsamiau
Atsisiųsti
Panašūs eksponatai
Rentgeno nuotrauka
Automatinė dioramaPferd
Skaityti daugiau
Rankų darbo aliejinės reprodukcijos
Rankiniu būdu tapytas aliejus ant droblio jūsų pageidaujamame dydį ir rėmuose – mūsų menininkų darbas pagal užsakymą. (
Perejti prie spausdinimo Perjungti į vaizdą)
Pasirinkite iš mūsų nustatytų dydžių, atitinkančių originalaus meno kūrinio proporcijas.
Galite įvesti savo matmenis, kad jie atitiktų konkretų rėmą ar erdvę. Jei pasirinktas dydis neatitinka originalaus paveikslėlio proporcijų, mes arba apkropsime meno kūrinį, arba papildysime tapybą rankomis dažytい elementais. Prieš pradėdami gamybą, jūsų patvirtinimui atsiųsime skaitmeninį maketą.
Atkreipkite dėmesį, kad ekrane rodomas vaizdas neatspindi tikrojo apkarpymo ar papildymo. Tik maketas tiksliai parodys galutinę kompoziciją.
Nors galima rinktis ir individualius dydžius, rekomenduojame pasirinkti matmenis iš nustatytos sąrašo, kad būtų išlaikytos originalios proporcijos.
Gavus užsakymą, ArtsDot.com komanda susisieks su klientu el. paštu dėl instrukcijų ir pateiks maketo pavyzdį.
Pristatymas visame pasaulyje () per 3–4 savaites, o ne įprastai – per 5 savaites. (10 rugpjūtis). Kokybė lieka nepakeičiama.
Nemokamas greitasis pristatymas visame pasaulyje
Aukštos kokybės lininis drobė
Pilnas siuntimo draudimas
Muitinės mokesčių grąžinimo garantija
Tikro spalvų atitikimo garantija
60 dienų grąžinimo politika (tik esant gamyklinėms defektams)
100% pinigų grąžinimo garantija
Nuolaida už kelias reprodukcijas
Stiklo variantas prieinamas tik pasirinkus dydį iki 110 cm
Pferd
Reprodukcijos technika
Reprodukcijos matmenys
-
Galutinė kaina
$ 263
panašūs kūriniai
Autoriaus biografija
Marino Marini: Sculptor of Myth and Modernity
Marino Marini (1901 – 1980) stands as a pivotal figure in Italian sculpture of the mid-twentieth century, blending classical inspiration with an uncompromising exploration of human form and emotion. Born in Rome, Marini’s artistic journey began formally at the Accademia di Belle Arti Firenze, where he honed his skills before dedicating himself primarily to sculpting around 1922—a commitment that would define his career and solidify his reputation as a master craftsman. His formative years were profoundly shaped by Arturo Martini, whose sculptural style – characterized by dynamic poses and expressive musculature – served as a cornerstone for Marini’s own artistic vision. Influenced deeply by Etruscan art, particularly its stylized depictions of figures and animals imbued with symbolic meaning, Marini sought to transcend mere representation, aiming instead for an embodiment of psychological depth and spiritual resonance. This fascination with antiquity fueled his stylistic choices and underpinned his enduring preoccupation with themes of heroism and primal instinct. Marini’s academic pursuits extended beyond sculpture; he became Professor at the Scuola d'Arte Villa Reale in Monza in 1929, maintaining this position until 1940. During these years, he cultivated connections with fellow artists like Massimo Campigli, Giorgio de Chirico, Alberto Magnelli and Filippo Tibertelli de Pisis—artists who engaged in dialogues about artistic experimentation and the role of art in confronting existential anxieties. Frequent visits to Paris allowed him to immerse himself in the avant-garde milieu of the time, fostering collaborations that broadened his creative horizons. Notably, he befriended Alberto Giacometti, Germaine Richier and Fritz Wotruba—artists who shared a similar commitment to exploring the human condition through figurative sculpture. The Second World War brought significant upheaval, forcing Marini into exile in Switzerland where he continued to exhibit his work and engage with influential contemporaries like Jean Arp, Max Beckmann, Alexander Calder, Lyonel Feininger and Jacques Lipchitz. His artistic output during this period reflected the anxieties of the era while simultaneously reaffirming his stylistic convictions. He received acclaim for his contribution to ‘The Twentieth Century Italian Art’ exhibition at MoMA in New York City in 1944 and was honored with the Feltrinelli Prize at the Accademia dei Lincei in Rome in 1954—recognitions that underscored his stature within the international art community. Marini's sculptural achievements reached their zenith during the Venice Biennale of 1952, securing him the Grand Prize for Sculpture and cementing his legacy as one of Italy’s foremost sculptors. His work continued to evolve throughout his life, exploring variations on themes of movement and gesture—a stylistic hallmark that distinguishes his oeuvre from many of his peers. He was awarded the prestigious Premio Nazionale della Scultura in 1954. A solo exhibition at the Kunstverein Hamburg and Haus der Kunst Munich further cemented his reputation as a visionary artist. His enduring influence can be seen in the work of subsequent generations of sculptors who embraced Marini’s stylistic innovations and philosophical concerns. He passed away peacefully in Milan in 1980, leaving behind an impressive body of sculptural masterpieces that continue to captivate audiences worldwide.
Marino Marini
1901 - 1980
Trumpa informacija
- Artistic Movement Or Style: Etruscan & Martini Style
- Artists Or Movements Influenced By This Artist:
- Jean arp
- Max beckmann
- Alberto giacometti
- Artists Who Influenced This Artist: ['Arturo Martini']
- Date Of Birth: 1901
- Date Of Death: 1980
- Full Name: Marino Marini
- Nationality: Italian
- Notable Artworks:
- Horse and Rider
- Composizione, (1956)
- Untitled (2)
- Place Of Birth: Italy
